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BLUM & POE  Los Angeles | New York | Tokyo

Paintings and drawings from the 1970s by Robert Colescott hanging @fiacparis 🔥
Over a six-decade career, Colescott (b. 1925, Oakland, CA; d. 2009, Tucson, AZ) established himself as a pillar of contemporary American painting by fearlessly appropriating art historical masterworks; employing bracingly satirical parody and a self-aware view of the male gaze; and confronting issues of chauvinism and sexual misconduct, and tensions surrounding interracial relationships.

#robertcolescott
📷: Andrea Rossetti

Opening November 3 in LA, 4-6pm —
Blum & Poe is pleased to present an exhibition of Chung Sang-hwa and Shin Sung-hy, two influential artists in the history of Korean painting since the 1960s. This is the first major presentation in Los Angeles to focus on either artists' work.

Chung Sang-hwa's early paintings from the 1960s were made in the style of Art Informel, then prevalent in the Korean art scene and a local movement in its own right. This exhibition presents several very rare examples from this period — colorful compositions with gestural mark-making that engage the negative space of the exposed canvas — a prelude of work to come in future decades. In contrast to these works in the exhibition, a suite of monochromatic grid paintings hangs nearby, examples from a body of work now renowned and iconic of Chung's oeuvre. With its technique rooted in labor and repetitive gesture, Chung's work is central to the history of the Dansaekhwa movement that emerged in the midst of Korea's postwar material deprivations and its authoritarian political system. Although the term literally means "monochrome painting," it is defined by the methods employed as much as its reductionist aesthetics.

Shin Sung-hy's practice questions the two-dimensionality of painting and the viewer's perception of the painted surface. Between the mid-1970s and early 1980s he made paintings on jute that appear to be hyper-realistic depictions of jute itself, augmenting and disrupted one's perception of the weave in the painting's actual support. Thereafter, the artist developed a technique called nouage ("knotting") by coarsely painting the canvas on both sides, interpreting the plane as a three-dimensional object. The artist would rip the material into thin strips, denying and dismantling the painted surface-causing the images within to "die." Weaving and knotting those pieces together, he reconfigured the materials into new paintings, many of which consist of a monochromatic expanse of white in contrast to the knotted morass of color. This exhibition features both bodies of work, from the flatly photorealistic early paintings to the physically wrought canvases of the 1990s and 2000s.

🚨🚨 IN STORES NOW🚨🚨
Henry Taylor's first comprehensive monograph, "The Only Portrait I Ever Painted of My Momma Was Stolen," features over 200 works from 1992 onward. For three decades the iconic artist has worked his way through New York, Los Angeles, Europe, and Africa, documenting what he sees. In his circle are artists, musicians, writers, and performers, as well as friends from his ten years as a psychiatric technician. Taylor's topical range also encompasses notable figures and celebratory moments of African American cultural history as well as politically-charged and painful subjects such as police brutality and the prison industrial complex.

Suites of Taylor's paintings, sculptures, and installations are reproduced alongside the artist's handwritten notes — accounts of sittings, sketches, and Henryisms. Contributions by an all-star cast of thinkers — Charles Gaines, Rachel Kaadzi Ghansah, Sarah Lewis, and Zadie Smith — touch on the nature of truth, racial terror, memory, and belonging in America. This definitive monograph celebrates Taylor's direct and revealing portraits, offering a tonic to a divisive cultural moment.

#HenryTaylor #CharlesGaines #RachelKaadziGhansah #SarahLewis #ZadieSmith #blumandpoebooks #👏

Matt Johnson on 🔥🔥🔥 this October —
His sculptures transform commonly found materials into unexpected forms, exposing the scientific and spiritual potency of these seemingly humble objects. With instinctive humor and ongoing scholarship of antiquity and religion, he investigates the expansive universe in the commonplace.
With work in ...
“The Artist Is Present" — an exhibition curated by @mauriziocattelan @yuzmuseum, questioning originality, intention, and expression — opening today. "Death Is Irrelevant" @hudsonvalleymoca opens this weekend — examining our timeless inclination to recreate ourselves. And currently on view @mestna.galerija “Seeing Eye Awareness" celebrates the artist as cultural clairvoyant
#MattJohnson

Pia Camil's "Split Wall" reviewed in @artforum this month — the Mexican artist's first solo exhibition in the UK — touched on the shortcomings of consumerism and globalization, and explored the queering of art historical languages.
"Camil’s 'Fade into Black' (2017), for instance, is a curtain measuring more than one hundred yards across, constructed from found T-shirts made in Mexico for the US market. Illegally imported back across the border to Mexico, sold informally at the Iztapalapa market in Mexico City, and shipped to the UK, these garments have been transformed into a soft wall effectively dividing the two galleries housing the show into four intimately linked rooms. This intervention—an 'emotional architecture,' to borrow a phrase from German-born Mexican artist Mathias Goeritz—has transformed Nottingham Contemporary into a semidomestic maze containing ceramics, textiles, and films that effectively double one’s perception of space through Camil’s idiosyncratic folk-craft adaptations of mass production."
— Andrew Hunt
#PiaCamil @nottm_contemp

"Orsay Through the Eyes of Julian Schnabel" opens tomorrow @museeorsay — the museum's first collaboration with a contemporary artist — visual artist and filmmaker Julian Schnabel curates a selection of works from the collection that have never previously been displayed together, juxtaposed with 11 of his own paintings from the last 40 years. “It’s a great privilege,” he said to the @nytimes yesterday. “It’s like there’s a letter that is written from one painter to the next, which is handed off through the paintings.”
On view until January 13, 2019 #JulianSchnabel

📷: Julien Mignot

Folks, big things happening this fall —
#FriedrichKunath opens his new show "One Man's Ceiling is Another Man's Floor" exploring exercises in the emotionality of everyday transactions, at B&P NYC on November 7 — and he releases his new monograph "I Don't Worry Anymore" covering the last 15 years of work, with new poetry by Ariana Reines, James Frey on the fetish of authenticity, James Elkins on New Romanticism, and John McEnroe on ... tennis!

#RobertColescott coming to @fiacparis this October 17 —
Robert Colescott (b. 1925, Oakland, CA; d. 2009, Tucson, AZ) discovered Paris as an American soldier during World War II, and returned to the city in 1949 to study under Fernand Léger. Visiting Paris in 1967, he witnessed the rising social tensions that led to the 1968 riots and the conception of a moral and cultural shift. Colescott produced a series of paintings and drawings in response to the upheaval in Paris and around the world, some of which are displayed here in his first solo presentation in France. Completed in the 1970s, these works demonstrate a confluence of compositional and stylistic elements that came to maturity for Colescott in this decade, as well as his increasing focus on cultural critique. While reaffirming the artist's role as a pioneer for transgressive artists of later generations, these paintings and drawings connect Colescott's practice and vision to the events currently shaping our social landscape, fifty years after they were created.

Over a six-decade career, Colescott established himself as a pillar of contemporary American painting by fearlessly appropriating art historical masterworks; employing bracingly satirical parody and a self-aware view of the male gaze; and confronting issues of chauvinism and sexual misconduct, and tensions surrounding interracial relationships. In 1997, Colescott was honored as the first African American artist to represent the United States with a solo exhibition at the 47th Venice Biennale.

"I paint like a barbarian, in a barbaric age." — Karel Appel
Currently on view in Los Angeles — Karel Appel's "Out of Nature" is the first exhibition devoted to the artist’s work presented on the West Coast. This series of paintings was completed in New York City in the years 1995-96, and was inspired by the artist's time spent in the city in the 1950s.
This film excerpt is from Jan Vrijman's short "The Reality of Karel Appel," created soon after Appel's period in New York, with musical scores by Dizzy Gillespie, Frits Weiland, and Appel himself.
The full psuedo-documentary is on view in the gallery, 14 minutes of footage of Appel channeling his primal impulses and urgently, emotionally, and actively painting canvas after canvas in his industrial Parisian studio, interspliced with filmic non sequiturs of candid local Truffaut-like street scenes ... Until October 27!
#KarelAppel

FOUR ROOMS is an exhibition of twelve paintings — a nexus of aesthetic and conceptual influences in figurative painting across eras and geography — with work by Robert Colescott, Carroll Dunham, Mark Grotjahn, Friedrich Kunath, Sean Landers, Elizabeth Peyton, Peter Saul, Dana Schutz, Henry Taylor, Bob Thompson, Piotr Uklanski, and John Wesley.

In one room, two works from the early 1960s by Robert Colescott and Bob Thompson mirror each other; each composition presents abstracted dancing figures that stylistically harken to Old Masters, these themes examined and reinterpreted through lenses contemporary to their time.
Nearby, the work of Henry Taylor and Elizabeth Peyton hang side-by-side. Each are portraits the artists painted of close friends, this mode of sourcing subjects from their respective inner circles central to the practice of each.

Hanging in separate rooms, the work of Friedrich Kunath and Sean Landers each pair humor with pathos, collaging distinct painting styles on one canvas, referencing a multiplicity in art history and human consciousness.

On view in New York until October 27

🔥 Congratulations to #EnricoDavid — the first museum survey of his work in the US opens today at the @mcachicago, thereafter traveling to the @hirshhorn! Titled “Gradations of Slow Release,” this show references interiority, multiplicity, privacy, introspection, and disembodiment, and traces David’s works made over the past 20 years, an attempt to build an empathic relationship between the viewer and the objects he has created.

Yukie Ishikawa's compositions originate from photographs of miscellaneous subject matter she finds in magazines, advertisements, newspapers, and books, which she enlarges, projects, and traces onto the canvas — although she seeks to create “a pictorial space outside of the three-dimensional space to which those things belonged.”
Beginning her career in the late 1980s as the Japanese New Painting movement gave way to new artistic possibilities, Ishikawa’s practice is distinct for its conscientious response against the history of Modernist painting and against the monochromatic space found in Minimalist art. She applies her interpretation of “tentai,” a technique in ink painting that dates back to 9th-century China—a collaborative interplay of meaning and representation—in which trees, rocks, and mountains are depicted through the application of pointillist ink dots, creating a foggy sense of vitality and rhythm.
Paintings from 2012-18 on view at B&P Tokyo until October 20 #YukieIshikawa

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